AMIA 2024 | Speakers

Adira-Danique Philyaw
Adira-Danique Philyaw (she/her) is a social work archivist that hails from Detroit and currently works as the Preservation Fellow for BAVC Media. She holds a Masters of Science in Information and Bachelor degrees in Social Work and Psychology from Florida State University, along with a Masters of Arts in Literary & Cultural Studies from Carnegie Mellon University. Adira-Danique’s research is centered around several topics, which include: the restorative power of storytelling to heal generational trauma within the BIPOC community; the ways social media and surveillance culture is used to preserve the BIPOC community’s histories ad cultures; and bringing awareness to the barriers to access that systematically excluded and traditionally marginalized populations face in the archives. She hopes to help empower those who are marginalized to record and preserve their own stories and histories as a means of promoting collective healing from historical trauma and as a way to catalog the BIPOC community’s experiences. Using the archives in this way, Adira-Danique hopes that she can help to present a more complete telling of American history.

Adrianne Finelli
Adrianne Finelli is an artist and archival film technician based in the Bay Area. She is currently Project Manager at Prelinger Archives and has been scanning films with the Archives since 2016. Previously she worked as a media specialist in the Department of Film & Media at UC Berkeley, as a film projectionist at SFMOMA, and has taught art and film courses at various universities. Adrianne holds an MFA in Media Arts from the University of Michigan in Ann Arbor and is from Bethlehem, Pennsylvania.

Agata Zborowska
Agata Zborowska is a cultural historian with a background in cultural studies and visual culture. She completed her PhD at the University of Warsaw. Her research interests lie in the intersection of material culture, property relations, and critical archival studies. She is currently a Marie Skłodowska-Curie Global Action Fellow at the University of Chicago and Katholieke Universiteit Leuven. Her project “Critical Archives of Ordinariness: Vernacular Moving Image Practices and Migrant Identity in Polish Chicago” investigates home movies and related oral histories of Polish Chicago before the digital era to challenge and broaden our understanding of evolving migrant and diaspora identities.

Aida Garrido
Aida Garrido is an audiovisual archivist based in New York, NY. She is presently the Preservation Technician at CUNY TV and the part-time caretaker for Walter De Maria’s The Earth Room, an art installation comprising 280,000 pounds of soil. Her areas of focus are digital preservation, automation, and software development. She has worked for New York Public Radio, David Zwirner, Blank Forms, Eye Filmmuseum, the Rietveld Academy, and Brooklyn Museum. She received her M.A. in film preservation from the University of Amsterdam and her B.A. in history from Princeton University.

Alisha Perdue
Alisha Perdue is the Senior Marketing Manager at Iron Mountain Media & Archive Services, where she helps drive impactful marketing strategies for the media and entertainment industry. With a deep passion for storytelling, Alisha specializes in building partnerships that bring to life the importance of media preservation, digital archiving, and asset management. She excels at identifying collaborative opportunities with customers and industry partners to create engaging narratives that showcase Iron Mountain’s thought leadership, build brand awareness, and highlight our role as trusted stewards of cultural heritage.

Allie Farrell
Allison Farrell is a PhD student at the University of Wisconsin – Milwaukee. As part of the English department’s Plan H program (Media, Cinema, and Digital Studies), her research focuses on media history and historiography, hauntology, and works of Gothic, horror, and the weird. They also can be found in the UWM Film Studies Collection, acting as librarian and likely under a pile of DVDs and VHS tapes.

Almudena Escobar López
Almudena Escobar López is a scholar, curator, and archivist based in Tkaronto. She is Assistant Professor on Film History, Film Preservation and Collection Management at the School of Image Arts of the Toronto Metropolitan University. She holds a Ph.D. in Visual and Cultural Studies from the University of Rochester, and a MA in Film and Media Preservation from the L. Jeffrey Selznick School of Film Preservation. As a guest curator, Almudena has curated and co-curated a number of film and video series which have been presented at TIFF, Batalha Centro de Cinema, Arsenal, Lincoln Center, Museum of Modern Art, Anthology Film Archives, Muestra Internacional Documental de Bogotá, Cineteca Nacional de México, among others.

Amanda McQueen
Amanda McQueen is an archivist, historian, and educator at the University of Arkansas at Little Rock Center for Arkansas History and Culture (CAHC). She holds an MA in Moving Image Archiving and Preservation from New York University and an MA and PhD in Communication Arts from the University of Wisconsin-Madison. Her research interests include media industry history and technology, with a special emphasis on nitrate film, and the musical genre on stage and screen. Amanda has over ten years of teaching experience in higher education and currently oversees CAHC’s graduate assistantship program. She is also a part-time cataloger for the Texas Archive of the Moving Image.

Amy Gallick
Amy Gallick is a Preservation Specialist in the Moving Image Section at the National Audio-visual Conservation Center in Culpeper, VA. She plays a role in many areas of the Moving Image Section’s operations, including acquisitions, preservation, conservation, exhibition, budgeting, purchasing, project management, and contracts, and served on the move team to Culpeper. Amy manages the Charles & Ray Eames Collection, overseeing photochemical and digital restoration projects, coordinating with exhibitors, and serving as a liaison to the Eames Office. Amy has a Bachelor’s Degree in Film Studies and English Literature from the University of Pittsburgh, a certificate in Film Preservation from the L. Jeffrey Selznick School of Film Preservation, and a Master’s Degree in Library and Information Science from Catholic University.

Amy C. Reid
Amy Reid is a PhD Candidate in Film and Digital Media at UCSC, working on a dissertation entitled: Feminist Relationality: Feminist Creative Practices in Filmmaking and Quilting. Reid’s work as a filmmaker examines the intersections between gender, national identities, and labor. By exploring observational approaches and expanding upon formal cinematic notions of time, structure, and narrative, Reid’s work questions how labor is constructed in the filmic form as seen in their film Grandmother’s Garden, which looks at the history of quilting, women’s labor, and US history. Their written dissertation work explores histories of feminist film distribution, collective filmmaking, and screening cultures in Latin America and the US during the long 1970s.

Amy Sloper
Amy Sloper is the Collections Archivist at the Harvard Film Archive, where she manages preservation, cataloging, and access to the archive’s holdings of audiovisual, manuscript, and digital collections. She is a former board member of the Center for Home Movies (2014-2022) and has been an active Community Archiving Workshop member since 2011, including serving as a regional mentor on the IMLS funded “Training of Trainers” project and team leader on the “Assessing and Addressing Digital Readiness for Audiovisual Collections” project funded by the NHPRC.

Andrea Kalas
Andrea is Senior Vice President of Archives at Paramount where she oversees restoration, digitization, digital archives and archive innovation.  She was Head of Preservation at the British Film Institute where she preserved the early films of David Lean and built a below freezing film vault; created in-production archiving systems for Discovery Communication;  built an archive from scratch at Dreamworks SKG and preserved newsreels at the UCLA Film and Television Archive. She is a former President of the Association of Moving Image Archivists. As a member of the Academy of Motion Picture Arts and Sciences, she is currently leading an initiative on the digital preservation of motion pictures called Academy Digital Preservation Forum. She won the HPA Outstanding Achievement in Restoration for The Godfather, d. Francis Ford Coppola 1972.

Andrea Leigh
Andrea Leigh was Moving Image Processing Unit Head at the Library of Congress Packard Campus for Audio Visual Conservation until her recent retirement. Previously, she was a cataloger at the UCLA Film & Television Archive and held positions at the UCLA Library, Cal State University at Northridge, Walt Disney Company and Creative Artists Agency. A past AMIA Board member, she currently chairs the Elections Committee. She has an M.L.I.S in Information Studies and B.A. in Theatre Arts from UCLA.  

Andrew Weaver
Andrew Weaver is the media preservation librarian with the University of Washington Libraries.

Anicka Austin
Anicka Austin is an Atlanta-based artist who works primarily with experimental movement and archival material. She has a Master of Science in Library Science from the University of North Carolina at Chapel Hill and is currently a collections processing archivist at Emory University’s Rose Library. Her work has been presented by Arts and Entertainment Atlanta (2023), Dance Canvas (2022-2023), the Southeastern Center for Contemporary Art (2021),  Museum of Contemporary Art of Georgia ( 2018), Zuckerman Museum of Art’s Fine Arts Gallery (2018), The Lucky Penny (2016-2017), Fulton County Arts and Culture (2017), and Adult Swim (2017).

Anthony Silvestri
Anthony Silvestri is journals manager at the University of Minnesota Press. Prior to joining the Press, he received his Ph.D. in Media Arts and Sciences from Indiana University. His research has been published in the Moving Image, the Historical Journal of Film, Radio, and Television, Porn Studies, and Journal of Film and Video.

Ari Negovschi Regalado
Ari Negovschi Regalado (CalArts ’14, UIUC MS/LIS ’22) is the Technical Director for the Texas Archive of the Moving Image. As the Technical Director, she oversees the lifecycle of audiovisual media digitization and has formed partnerships with Entre Film Center, Project Row Houses, the Orange Show and others to preserve the moving image heritage of Texas. While at the University of Illinois at Urbana-Champaign, she oversaw the preservation of the Perry Miller Adato papers and films, ca. 1968-1982, a collection of over 4,700 audiovisual assets created by the late documentarian Perry Miller Adato. Prior to her tenure at UIUC, Ari received her BFA from California Institute of the Arts’ Film and Video Program, where she studied analog film and video technologies. She has also worked at the Autry Museum as an Exhibition Media Production Assistant for the award-winning Floral Journey: Native North American Beadwork, the 52nd Chicago International Film Festival, and as a film/video digitization technician at a boutique firm in Chicago.

Ashley Blewer
Ashley Blewer (she/her) is an archivist, educator, and software developer. See more at https://ashleyblewer.com/

Ashley Dequilla
Ashley Dequilla is an artist-filmmaker and archivist. In 2023, she obtained her Masters of Fine Arts in Moving Image from the University of Illinois at Chicago, where she is currently enrolled as an MA student in Art History. She is a Co-Curator Partner and researcher of the Philippine Heritage Collection at the Field Museum of Natural History. Ashley is the collection manager for the Filipino American Historical Society of Chicago, and works as a moving image archivist to preserve its analog film collection with University of Chicago’s South Side Home Movie Project, securing the National Film Preservation Foundation award in 2024.

Ashley Franks-McGill
Ashley Franks-McGill (she/her) is the Mentorship Co-Coordinator for the AMIA  Mentorship Program. She brings compassionate people and leadership skills  to mentorship in AMIA, striving to foster deeper and more impactful  professional connections within our community. She works as the Film Services  Manager at Duplitech where she expertly manages fragile and valuable film  collections for remastering. Ashley holds dual Master’s degrees in Museum  Studies and Business Administration with respective emphases in collections  management and leadership from John F. Kennedy University. She loves  dogs, ice cream and knitting.

Azad Namazie
Azad Namazie (they/them) is a multimedia artist and archivist from Los Angeles. They are the Duplication and Loan Coordinator at UCLA Library Special Collections, overseeing all requests for high-resolution, broadcast-quality files of archival and bibliographic materials, including born-digital materials and digitization of audiovisual materials. They also received their MLIS from UCLA. Azad has previously processed born-digital oral history collections (“Mariachi Musicians in LA” and “Central American Solidarity Movement in the 1980’s”) at the UCLA Center for Oral History Research and helped digitize and preserve tape-based & optical media collections at the Skid Row History Museum & Archive and Los Angeles County Museum of Art.

Becca Hall
Becca Hall is a co-founder of the Chicago Film Society, where she oversees collections management, website upkeep, and the editing and design of CFS’s program booklets. She is the creator of multiple CFS initiatives promoting the sustainability and visibility of analog film exhibition, including the Analog Film Exhibitors Directory, the Leader Ladies Project, Sprocket School, and Booth Talk. Becca also works at Chicago Film Archives as Director of Communications & Operations and has served as co-chair of AMIA’s Projection and Technical Presentation Committee and as Technical Lead for Archival Screening Night.

Ben Balcom
Ben Balcom is a filmmaker and educator currently living and working in Milwaukee, Wisconsin. He is an assistant professor at the University of Wisconsin-Milwaukee and is the co-founder and programmer of Microlights Cinema, an artist-run microcinema which ran from 2013 to 2023. Recently, his films have taken a lyrical approach to documenting the spaces and legacies of now-defunct experimental schools. Prior to that he made a series of introspective landscape films that engaged with Milwaukee’s progressive political past and contemporary anxieties about the future. Earlier films used abstraction to explore the tensions between perception and communication, with a reflexive attention on the medium itself. These films have been exhibited around the world at venues and festivals such as The Museum of Moving Image, European Media Arts Festival, International Film Festival Rotterdam, IndieLisboa, Media City Film Festival, Alchemy Film, and Slamdance. The films have received awards at Onion City Film Festival, Athens International Film & Video Festival, and Ann Arbor Film Festival. Recently, Balcom was a fellow at the Center for 21st Century Studies at UW-Milwaukee.

Bertram Lyons
Bertram has over 20 years of experience leading consultants and development teams to create innovative, flexible, and user-center software for clients where digital assets are a core function of their organization. Before founding Medex Forensics, Bert served as Managing Director for Software at AVP, an information innovation company. Prior to that, Bert served as a digital archivist for the American Folklife Center (AFC) at the U.S. Library of Congress. Bert has supported complex data and software development projects for organizations globally, including the Federal Bureau of Investigation (FBI), the Smithsonian Institution, the Library of Congress, the JFK Presidential Library Foundation, HBO, Paramount Pictures, University of Kentucky, Indiana University, Yale University, Facebook, and Spotify, among many others.  Bert is an Associate Member of the American Academy of Forensic Sciences (AAFS) and an active member of the Scientific Working Group on Digital Evidence (SWGDE). He has received certification from the Academy of Certified Archivists and is a graduate of the Archives Leadership Institute. He holds an MA in museum studies with a focus in American studies and archival theory from the University of Kansas.

Brian Belak
Brian Belak is a Film Preservationist for the UCLA Film & Television Archive, where he works on preservation and restoration projects that range from the silent era to independent and LGBTQ+ cinema. Brian previously worked as Collections Manager for Chicago Film Archives, and while pursuing an MLIS degree at UCLA, processed the Synanon Foundation films for UCLA Library Special Collections. Brian contributes to annual Home Movie Day events and serves as Board Secretary for the Al Larvick Conservation Fund.

Brian Real
Brian Real (he/him) is an assistant professor in the School of Information Science at the University of Kentucky. He holds a PhD in information studies and a master of library science from the University of Maryland. His primary research areas are the historical impact of federal policy on film preservation and the modern social impact of public libraries on their communities. He is an active member of the Association of Moving Image Archivists (AMIA), overseeing its Salary and Demographics Survey of the Field and acting as the reviews editor for The Moving Image. Real has published research articles in The Moving Image, Journal of Archival Organization, Public Library Quarterly, Library Quarterly, Information Technology and Libraries, and the Historical Journal of Film, Radio, and Television.

Britany Gunderson
Britany Gunderson is a filmmaker and artist living in Milwaukee, WI. Her practice involves creating moving image work that uses material forms such as textiles and celluloid film to investigate personal histories through process-based experimentation and direct intervention. Gunderson received a Jury Award from the Milwaukee Film Festival. Her films have exhibited internationally at venues such as Saigon Experimental Film Festival, ANALOGICA, and Light Field. Gunderson received a BFA in Film, Video, Animation, and New Genres at the University of Wisconsin-Milwaukee.

C. Díaz
C. Díaz (they/them) is an interdisciplinary artist and radical archivist from the Rio Grande Valley, TX, where they co-founded ENTRE Film Center & Regional Archive in 2021. C’s work explores the relationship between cerebral landscapes and the natural environment through the weaving of experimental cinema, social practice, and the reimagining of archives. At ENTRE they hold roles as Archive Project Manager and Artist in Radical Residency (AIRR) Program Facilitator, among other administrative and programming responsibilities. They are on the board for the Center for Home Movies, and serve as a Co-Coordinator of the Mentorship Program at the Association of Moving Image Archivists. C is also the primary caregiver of a 16 years young chihuahua, Néstor, who loves sunbathing and despises car rides.

Camila Garcia Cabrera
Camila “Cam” Garcia Cabrera is a recent graduate of the Cinema and Television Studies Bachelor of Arts from SUNY Purchase College. Cam dedicated a significant portion of her time there in advocacy for neglected 16mm film reels which ranged from film program screening copies to original editing materials made by past Purchase film production students. This involvement led Cam to co-found the Purchase Film Archive, where she focused on conservation and preservation of film and video materials and making the study of archiving and restoration accessible to all students. Cam also managed Purchase’s student-run radio station, WPSR Student Radio where she created events and founded the WPSR archive, a collection of documents, analog media, and press materials for past events publicizing the station’s engagement with Purchase’s extensive underground music scene. Her appreciation for audiovisual media as an art form and educational tool has led her to work at places like the independent arthouse cinema Jacob Burns Film Center and film archive and distribution company, Vinegar Syndrome.

Camille Townson
Camille Townson is the Processing Archivist at South Side Home Movie Project. They began working with SSHMP in 2022 as an AMIA Pathways Fellow. Camille received their B.S. in Human-Computer Interaction and Design from UC San Diego, and specialize in user experience, digital accessibility, and intimate history-making.

Carin Forman
Carin Forman is a Global Partner Leads at Amazon Web Services (AWS) in Media, Entertainment, Games and Sports (MEGS). Carin’s focus is on partner strategy and enablement and helping customers modernize their content supply chains and unlock new value from their archives. With over 25 years of experience in the industry, Carin brings a deep understanding of the unique challenges facing the media ecosystem. Prior to joining AWS, Carin held leadership roles at prominent companies like HBO and Discovery, Inc., driving innovation in next-generation content management solutions and supply efficiency. Recognized as a thought leader, Carin is a frequent speaker on topics ranging from media supply chain, content delivery, data readiness and media archives.

Caroline Mango
Caroline Mango (she/her) is an archivist originally from Brazil, currently residing in New York City. She holds a Master of Arts in Moving Image Preservation and Archiving and a Bachelor’s Degree in Film and Television Production from New York University. Her work includes ingestion, cataloging, inventory management, and quality control of digitized media for both GBH and for the American Archive of Public Broadcasting (AAPB). She is passionate about preservation and increasing access to media, especially content centered around under-represented communities, and has recently published the Stories of East and South East Asia special collection on GBH’s Open Vault and WIPR: Arts and Culture in Puerto Rico on the AAPB. Caroline currently serves as the Co-Chair for GBH’s Catalyst Employee Resource Group, a BIPOC group dedicated to diversity, equity, and inclusion in public media. In partnership with GBH’s Accessibility Council, she spearheaded an organization-wide event focusing on mental health and community.

Casey Keltner
Casey runs the Picture Division of StudioPost, the on-lot Post Production facility in Los Angeles which works on both episodic television and mastering needs for NBCUniversal and content creators across the industry.  Casey’s team of professionals and artists focus on color correction, editing, visual effects, dailies, quality control, localization, and film restoration.  His organization is on the forefront of all the latest technologies in the space working in 4K, HDR, DolbyVision, etc.  Prior to Casey’s last six years at StudioPost he was VP of Post Production for the Cable Entertainment team supporting  post production and operations for many of the Comcast owned cable networks– working with E!, Style, G4, Bravo, Esquire, etc.  Casey just celebrated his 22nd year at the company.

Cassandra Moore
Cassandra Moore is the Vice President of Mastering and Archive at NBCUniversal and has worked at NBCUniversal since 2004. She is a highly skilled professional in 4K DolbyVision & HDR Mastering, Feature Film Restoration, Production Management, and Process Improvement. Having worked for 30 years with top talent in the entertainment industry, she knows that ensuring films premiere in the best possible format with the highest quality images and sound is important to filmmakers, the industry, and the legacy of Universal Pictures.     Restoring and Preserving NBCUniversal’s 112-year-old library is the great honor and passion of Cassandra’s career.

Charlie Hosale
Charlie Hosale is an archivist at the American Folklife Center in the Library of Congress, where he processes multi-format archival collections. He has participated in the Federal Agency Digital Guidelines Initiative (FADGI) since 2018. He regularly contributes to the Library’s AV and digital preservation initiatives such as the Recommended Formats Statement. Charlie has worked in academic and corporate archives, including the University of Wisconsin-Milwaukee Library Archives, MillerCoors, Robert W. Baird and Company, and the American Archive of Public Broadcasting, a collaborative project of the Boston public media station GBH and the Library of Congress. He holds a Masters of Library and Information Science and a B.A. in Comparative Literature, both from the University of Wisconsin-Milwaukee. He has taught classes and given presentations on audiovisual preservation, archive access platforms, automation, and project management. His research interests include audiovisual archives, digital preservation, digitization best practices, music history, and foodways.

Chris Lacinak
As the Founder and CEO of digital asset management consulting firm, AVP (https://weareavp.com), Chris has spent nearly two decades partnering with and guiding over 250 organizations on how to put digital assets at the fingertips of users, making them easier to access, share, protect, and put to good use.    In addition to this, Chris is the host of the podcast DAM Right: Winning at Digital Asset Management, which you can find at https://dam-right.com/listen. He also served as an adjunct professor in NYU’s MIAP program for seven years, served multiple terms on the AMIA board, and has chaired AMIA’s Digital Asset Symposium for several years.

CK Ming
CK Ming is a Media Conservation & Digitization Specialist for CAAMA. They work to inspect, digitize, and preserve CAAMA’s vast holdings of audiovisual material. Their interests include early African American silent film and independant African American cinema. They hold an M.A. from New York University in Moving Image Archiving and Preservation and a B.A. from American University in Film & Media Arts.  They are the Advisory Board Chair for the Association of Moving Image Archivist’s Pathways Fellowship Program, they serve on the National Film Preservation Board and they are a core member of the Community Archiving Workshop group which assists small organizations in preserving their audiovisual materials.

Colleen Simpson
Colleen Simpson is VP of Operations for Prasad Corporation.  A long-time AMIA member, she has served on the Board, volunteered on committees, and is currently Trivia Master for AMIA’s Annual Trivia Night.  When she isn’t managing preservation projects, or writing trivia questions, she spends time coaching soccer, climbing mountains, and planning impossible road rallies.   She is not currently working on a memoir.

Courtney Holschuh
Courtney Holschuh is an Archives Technician in the nitrate film vaults at The Library of Congress National Audio-Visual Conservation Center where she has been caring for the Library’s vast collection of 145,000 nitrate film reels since 2023. From 2018 to 2023, she was a Senior Film Inspector at the Museum of Modern Celeste Bartos Film Preservation Center. Courtney received a Masters in Library Science from Indiana University in 2018.

Crystal Sanchez
Crystal Sanchez is a media archivist at the Smithsonian Institution on the Digital Asset Management team (DAMS), working with digital audiovisual collections from across the Smithsonian’s diverse Museums, Archives, Libraries, Research Centers, and the Zoo. As a moving image archivist, preservation specialist, and arts professional, her work involves collection management and preservation planning of film, video, and digital assets to ensure current and future access. She loves to stroll through fine art museums and to cook.

Dan Hockstein
Dan Hockstein (Audio Preservation Specialist, Smithsonian Libraries and Archives) is an audiovisual and information specialist. His work centers around exploring the people and stories held on legacy audio media, and the crucial knowledge surrounding the technology used to record and preserve these important sounds. His experience in audiovisual preservation has included work with vendors and cultural heritage institutions in digitization, quality control, and programmatic development. He holds a Bachelor of Arts in audio post-production and sound design from Emerson College and a Master of Science in Information Science from UNC-Chapel Hill. Dan has also worked in media production extensively as a musician, producer, and engineer.

Devin Orgeron
Devin Orgeron is emeritus professor of film and Media studies at North Carolina State University where he taught and researched for nearly two decades. Along with numerous articles in the field’s leading journals, he is the author of ROAD MOVIES, co-editor of LEARNING WITH THE LIGHTS OFF, and is editor-in-chief of THE MOVING IMAGE: The journal of the Association of Moving Image Archivists. Devin and his wife Melissa Dollman co-founded Deserted Films in Palm Springs, California in 2022. A nonprofit home movie archive in the Coachella Valley, Deserted Films cares for and makes available films shot in the area and educates the public on this valuable and often neglected media through public home movie events.

Diana Little
Diana Little directs the Film Department at The MediaPreserve, a laboratory outside of Pittsburgh, PA that specializes in the digitization of archival audiovisual materials.  Prior to her time at The MediaPreserve, Diana spent most of a decade working on film restorations at Cineric, Inc. in New York City.  She holds a bachelor’s degree in Film Production, History, and Theory from Vassar College and completed the certificate program at the L. Jeffrey Selznick School of Film Preservation at George Eastman Museum.  She currently serves on the board of the Al Larvick Conservation Fund and has participated in Home Movie Days in New York and Pittsburgh since 2003.

Dino Everett
Dino Everett is the archivist and curator of the HMH Foundation Moving Image Archive at USC. He has worked in the archival field for the past 20 years and published essays covering everything from motion picture technology, documentary film, and amateur home movies. He is an adjunct professor at UCLA and the University of Indiana dubbed him the punk rock archivist.

Doug Boyd
Doug Boyd directs the Louie B. Nunn Center for Oral History at the University of Kentucky. Boyd envisioned, designed, and implemented the open-source and free Oral History Metadata Synchronizer (OHMS), which synchronizes text with audio and video online. Boyd is the co-editor of the book Oral History and Digital Humanities: Voice, Access, and Engagement and he is the author of the book Crawfish Bottom: Recovering a Lost Kentucky Community.  Boyd served as president of the Oral History Association in the United States in 2016-2017 and conducted research in Australia as a Fulbright Scholar in 2019.

Doug Sylvester
Doug Sylvester is CEO of PRO-TEK Vaults. He has over 25 years of board, executive leadership, and operational roles in business services, early-stage digital media, and traditional media companies.    Doug joined PRO-TEK in 2022. Previously he was an Executive Vice President at GSN, owner of Game Show Network and GSN Games. Before GSN he was CEO and a Member of the Board of Directors of CAPS Payroll, a payroll services company serving entertainment industry clients. Prior to CAPS Payroll, Doug spent 13 years at Vubiquity—a leading global provider of premium content services—where he served as President, COO, and Chief Strategy Officer.    He is a member of the Academy of Television Arts & Sciences.

Edward Benoit III
Edward Benoit, III is Associate Director and Associate Professor in the School of Information Studies at Louisiana State University. He coordinates the archival studies and cultural heritage resource management programs. He received an MA in History, MLIS and PhD in Information Studies from the University of Wisconsin-Milwaukee. His research focuses on participatory and community archives, non-traditional archival materials, climate change, and archival education. He is the founder and director of the Virtual Footlocker Project, which examines the personal archiving habits of the 21st century soldier in an effort to develop new digital capture and preservation technologies to support their needs. He also directs PROTECCT-GLAM, an IMLS-funded project focused on identify climate-change-related risks for GLAMs. Dr. Benoit is also an affiliated faculty member in the LSU College of Art & Design’s Doctor of Design in Cultural Preservation program.

Elise Schierbeek
Elise Schierbeek is a media archivist, writer, video essayist, and aspiring film programmer. Elise currently works as the Digital Collection and Media Manager at Video Data Bank (School of the Art Institute of Chicago) where they oversee digital access, media production, and web content. For many formative years, they worked in archives and distribution at the documentary production house Kartemquin Films.

Elizabeth Hansen
Elizabeth Hansen is a creative problem-solver with more than two decades of expertise in archives, museums, history, and media. She joined the Texas Archive of the Moving Image as Managing Director in 2020 and served as the organization’s Outreach and Education Manager from 2008 to 2013. With a career spanning roles in community engagement, media production, and archival research, Hansen has worked for the Country Music Hall of Fame and Museum, the LBJ Presidential Library, the Bullock Texas State History Museum, Kansas City PBS, the National Educational Telecommunications Association, the Stax Museum of Soul Music, and the Ewing Marion Kauffman Foundation. Hansen’s archival research has enhanced documentaries such as “Winnebago Man,” “Karen Dalton: In My Own Time,” and “See Know Evil.” She holds a master’s degree in media studies from the University of Texas at Austin and a bachelor’s degree in mass communication from Middle Tennessee State University.

Emily Chao
Emily Chao is a filmmaker based in the Bay Area. Her films have screened at the Viennale, IFFR, Sheffield DocFest, BAMPFA, MoMI, Wexner Center for the Arts, and elsewhere. She is a founding member of Black Hole Collective Film Lab in Oakland, CA and co-programmed Light Field, an international exhibition of moving image art from 2017-2024. She is from San Jose, California and earned her MFA in Film/Video at the California Institute of the Arts.

Emily Lynema
Emily Lynema leads the Digital Media Software Development unit at the Indiana University Libraries. This group builds tools supporting the management of and access to the University’s large collection of digitized audiovisual materials. As the product owner for the Audiovisual Metadata Platform (AMP), she works with Indiana University’s collection owners to experiment with ways that AI tools can improve discoverability and accessibility of their collections. AMP is an open source software platform designed to enable library staff to build customized workflows that incorporate these AI tools to generate useful metadata for audiovisual materials.

Eric Hoyt
Eric Hoyt is the Kahl Family Professor of Media Production in the Department of Communication Arts at the University of Wisconsin-Madison. His research focuses on the intersections between media history and the digital humanities. He is the Director of the Wisconsin Center for Film and Theater Research and Media History Digital Library, which has digitized over 3 million pages of historic books and magazines for open access. He is the author of Hollywood Vault: Film Libraries before Home Video (2014) and Ink-Stained Hollywood: The Triumph of American Cinema’s Trade Press (2022), as well as co-editor of Hollywood and the Law (2015), The Arclight Guidebook to Media History and the Digital Humanities (2016), and Saving New Sounds: Podcast Preservation and Historiography (2021), and the forthcoming Global Movie Magazine Networks (2025). His work has been supported with over $1.4 million in extramural grants from the NEH, ACLS, NHPRC, and IMLS.

Eva Yuma
Eva Yuma is IndieCollect’s Senior Restoration Colorist where she has restored Solomon Northup’s Odyssey by Gordon Parks, Bitter Cane by Ben Dupuy & Kim Ives, Shadow Magic by Ann Hu, Hairstory by LaTanya Richardson Jackson, Suzanne Suzanne by Camille Billops, Suspect by Darnell Martin, and three short films of Julie Dash. She has worked at IndieCollect since getting her MA from the Feirstein Graduate School of Cinema at Brooklyn College.

Eve March
Eve March (they/them) is passionate about advocacy, memory work, and accessible information. They were born and raised in Denver, CO and have called Portland, OR their home for the past 6 years. They earned their B.A. in Art History from Lewis & Clark College where they became drawn to library and archival work. After graduating, they worked as an archives assistant with the City of Portland Archives and Records Center where they developed an enduring interest in collective memory, archival silence, oral histories, and the built environment. Outside of work Eve loves exploring places on their bike, cooking with friends, collaging, and taking photographs.

Fabio Bedoya
Fabio Bedoya is a Film Restoration Technician and Colorist with extensive experience in digital intermediates. His work spans a range of restoration projects, from preserving Peru’s cinematic heritage to collaborating with major studios and independent filmmakers. As a master trainer at Filmworkz, he demos, trains, and provides support to clients in their film restoration needs, ensuring they effectively utilize the Phoenix suite of restoration tools. He conducts research on color recovery, film decay, and digitization issues using machine learning, and is committed to furthering and improving education in the film restoration space.

Frances Cava Humphrey
Frances Cava-Humphrey (they/them/siya) is a community archivist, artist, and Filipinx community organizer living in Austin, Texas. Their passion is critical and accessible archiving that preserves the under/misrepresented histories of diasporic and queer communities and challenges institutional hegemonies. Their work approaches audiovisual media and performing arts from a reimaginative lens, with a love for radical puppetry and truth-excavating collective storytelling.

Geetha Sanumathy
As the Head of Film Preservation at Prasad Corp, Geetha Sanumathy is deeply committed to safeguarding our cinematic heritage, leading a dedicated team of over 450 skilled technicians specializing in digitization, restoration, quality control, and metadata management.

George Blood
George Blood graduated from the University of Chicago (1983) with a Bachelors in Music Theory.    In addition to his work in preservation, he started his career at WFMT-FM in Chicago over 40 years ago and was recording engineer for The Philadelphia Orchestra for 21 years. George has recorded over 4,000 live events, recorded and edited some 600 syndicated radio programs, recorded or produced over 250 CDs -7 of which have been nominated for Grammy Awards- and has given over 150 presentations on audiovisual technology and preservation. He served two years as program chair for ARSC. He is the only student of pianist Marc-André Hamelin. George Blood Audio/Video/Film/Data has digitized nearly 1.7 million audio, moving image, and computer media from collections around the world. Staff are active in research into workflow, best practices, metadata, authentication, and interchangeability of digital information. George is an active teacher and presenter at conferences, sharing these findings with members of the trade and collections managers. He served on standards committees for ALA and MXF AS-07 (now SMPTE RDD48), and is author of two chapters of IASA TC 06.

Grace Lile
Grace Lile has worked as an audiovisual archivist for over 30 years. In 2004, Grace established the Media Archive at WITNESS.org, where she developed systems, frameworks, and practices to address the unique challenges of human rights audiovisual documentation and archiving. She participated in her first Community Archiving Workshop in 2013. She currently works as an independent consultant.

Guadalupe Martinez
Guadalupe Martinez (they/she) earned an MLIS from San José State University in 2022, and later joined BAVC Media’s 22/23 Preservation Fellowship to learn hands-on digitization for magnetic media. They are currently the Outreach Coordinator at California Revealed, supporting regional Community Archiving Workshops, Memory Labs, and cultural heritage organizations across the state. Their present role brings together elements of memory preservation, public service, and love of shared history.

Heidi Shakespeare
Heidi Shakespeare, the CEO of Memnon, is a dynamic leader with over 25 years of experience in driving sales growth across the broadcast and digital archiving industries. Her commitment to innovation has propelled Memnon to the forefront of audiovisual (AV) migration and archiving, positioning the company as a key player in preserving and providing access to the world’s content.    Before taking the helm at Memnon, Heidi held leadership positions at Iron Mountain and Bonded Services Group, where she honed her expertise in managing complex archiving solutions. Her career path is particularly unique, as it also includes a period early in her career spent traveling the world as a trapeze artist, an experience that likely fostered her sense of adventure and resilience.  Under her leadership, Memnon has become known for its cutting-edge approaches to digitizing and preserving valuable audiovisual content, ensuring that critical historical and cultural materials are accessible for generations to come.

Hillary Howell
Director of Premium Archival Services for Iron Mountain Media and Archive Services, Hillary Howell, brings an extensive background managing all the aspects of studio and production company collections along with her experience as an entertainment archivist. At Iron Mountain Media and Archive Services, Howell has worked with diverse clients and archives on a number of initiatives including digitization, relocation and creation of collections management policy. While obtaining a Master’s degree in Moving Image Archive Studies from UCLA, Howell interned for the Women in Film Foundation and the Academy of Motion Picture Arts and Sciences Archive which further deepened her passion for archiving in entertainment.  Howell’s curated diverse collections of media assets as well as props, costumes, photography and ephemera through her work with New Line Cinema, The Jim Henson Company, Jerry Bruckheimer Films, NBCUniversal and Lionsgate Entertainment. Career highlights include discovering and restoring a Jim Henson animated short called “Alexander the Grape” from a mix of found audio recordings, animated scene trims and storyboards, restoring serial killer props from “CSI: Crime Scene Investigation” for display in the Bruckheimer offices; and preserving the John Wick films that can now be enjoyed by future generations.

Hugo Ljungbäck
Hugo Ljungbäck is a filmmaker, archivist, and media scholar whose work examines the intersections of queer art, experimental film and video, media archaeology, and archival studies. He is currently a PhD Student in Cinema and Media Studies at the University of Chicago, where he is developing a dissertation project on mid-century queer amateur filmmaking, an almost wholly overlooked chapter of the history of queer cinema. He also serves as Co-chair of the Association of Moving Image Archivists’ Small Gauge and Amateur Film Committee and Co-Secretary of Domitor, the International Society for the Study of Early Cinema.

Isabella Scaffidi
Isabella Scaffidi is an emerging archivist who recently graduated from the University of Southern California with a BA in Comparative Literature and Cinema and Media Studies. She currently works as the Assistant Archivist at the American Cinematheque in Los Angeles, CA, where she oversees the cataloging and rehousing of the organization’s photo collection and digitization of their audio/video collection. She got her start in archiving while in undergrad at USC in the HMH Foundation Moving Image Archive, where she first fell in love with film preservation and remains a dedicated volunteer. Over the last three years, she has worked closely with HMH archivist Dino Everett, restoring various projectors and films under his guidance, auditing classes in the UCLA MLIS program, and assisting the archive in routine maintenance-related tasks, such as building shelves, conducting research, scanning films, accessioning and deaccessioning prints/collections, and cataloging. On weekends, Isabella also interns for restorationist Ross Lipman, where she is helping build the Jordan Belson Archive and Catalog. When she is not archiving, you can find her at the movie theatre, or at home projecting a print from her personal collection.

J.M.S. Emberley
J.M.S Emberley is a graduate of the Cinema Studies Program at SUNY Purchase and a founding member of the Purchase Film Archive, a student-run organization dedicated to cataloguing and preserving the school’s media collections.

Jamie Lee
Jamie Lee is an Audiovisual Archivist at the National Archives of Singapore (NAS) with a background in Southeast Asian Studies and Film Studies. She adopts a full-stack approach to access: advocating for metadata and thoughtful application of technology as the foundation of search and discovery, while spearheading curation projects that illuminate lesser-known narratives in Singapore’s media history.         To this end, Jamie co-led NAS’s Government Linked Archival Data (GLAD) project in 2022/23, developing a Linked Data prototype using ICA’s RiC description standard. She played a critical role in data modelling, transformation, and front-end development, and later presented GLAD’s findings at ICA Congress 2023 and SARBICA 2023; she continues to lead research on the application of RiC at NAS today. Other notable projects include “Clandestine Consumption”—a lecture about pirated records in NAS’s collection—and “Sounds of Yesteryear: Vol. 2″—a curated page showcasing weekly releases of digitised shellac records.         Outside of work, Jamie dabbles in visual art, film photography, amateur film-making, and web development; she is also (finally) wrapping up her MLIS (Archival Studies) at the University of Wisconsin—Milwaukee.

Janeth Delgado
Janeth Delgado is a recent graduate from San Jose State University’s Master of Library and Information Science program. She previously worked as an intern at the American Film Institute’s film archive, helping them develop their database of audio and video recordings created by the AFI Conservatory. Her work with the AFI sparked an interest in the audiovisual field and a desire to learn more about digital film cataloging and preservation. With her undergraduate background in computer science, she is interested in the technical aspects of digitization, audio and video encoding, and metadata standards.

Jason Evans Groth
Jason Evans Groth is the Electronic Technologies Librarian at University of Virginia, where he helps manage the Robertson Media Center (RMC) and is the lead manager of the RMC Audio Studio. He provides instruction in media making, especially audio and video instruction, and consults on the transfer and safe-keeping of legacy media for patrons. He earned his MIS/MLS from the School of Library and Information Science at Indiana University in May of 2013. At IU he was the graduate assistant for the Media Digitization and Preservation Initiative from 2012- 2013, an Assistant Archivist at the Indiana University Libraries Film Archive from 2010-2013, the graduate assistant for the Digital Library Program at IU from 2011-2012, and a teaching assistant for the classes “The History of Rock and Roll: 70s and 80s,” “History of the Beach Boys,” “History of Frank Zappa,” “History of the Blues,” and “History of Jimi Hendrix.” From 2001-2010 he toured the world as a guitar player and with many bands and artists, including Magnolia Electric Co, Jens Lekman, and The Impossible Shapes.

Jen Miko
Jen Miko is a Film Scanner at Prelinger Archives. She is an ardent archivist with a long history of working with silver-based images. Jen is a graduate of the L. Jeffrey Selznick School of Film Preservation, and has worked with many Bay Area film preservation organizations over the years. Recently, in association with the San Francisco Silent Film Festival, she completed full restorations of several silent film titles. She served as Interim Executive Director at the Niles Essanay Film Museum and has also held positions on the archives team at Zoetrope Productions. As co-founder and former principal of Movette Film Transfer her passion for amateur and small-gauge cinema flourished as she accumulated decades of film-handling experience.

Jenai Cutcher
Jenai Cutcher is a tap dancer and the Assistant Curator in the Jerome Robbins Dance Division at the NYPL Library for the Performing Arts. Her creative practice includes dancing, choreographing, teaching, writing, videography, archiving, curating, and researching histories of dance to present in a variety of media. Cutcher has written articles for publications including Dance magazine and The Village Voice, three dance books for children, and Columbus Moves: A Brief History of Contemporary Dance. Her documentary, Thinking On Their Feet: Women of the Tap Renaissance, explores the work of women who resurrected and revolutionized the art of American tap dance and continue to pioneer the field. Cutcher was the founding Executive and Artistic Director of Chicago Dance History Project, a digital archive of original and collected research. She has a BA in English and MFA in Dance, both from The Ohio State University.

Jennifer Petrucelli
Jennifer Petrucelli has worked in documentary film for more than 20 years. She served as a producer, writer, and researcher in George Lucas’ Documentary division at Lucasfilm, working on dozens of historical documentaries. In 2014, she co-founded Sub-Basement Archival, where she has served as an archival producer for numerous award-winning films, including Peter Bratt’s Dolores (2017), Nicole Newnham & Jim LeBrecht’s Crip Camp (2020), and Dawn Porter’s 37 Words (2022). Her work, along with Rachel Antell’s, has garnered FOCAL Awards and an Emmy nomination for archival research. Jennifer earned a master’s degree in Documentary Film from Stanford University, and a BA in History from Cornell University. She is also a co-founder of the Archival Producers Alliance.

Jenny Hsu
Jenny Hsu received her Master’s degree from NYU’s Moving Image Archiving and Preservation Program in May 2024. She is currently a Time-Based Media Conservation Fellow at the Metropolitan Museum of Art, where she works on the ingest and documentation of new acquisitions and artworks within the collection.  During her graduate studies, she interned at La MaMa E.T.C., Video Data Bank, and NYU Libraries, and served as a Graduate Archival Assistant in NYU’s Cinema Studies Department.  Jenny’s research focuses on electronic art, video art, performance, installations, and complex media works. She is particularly interested in improving documentation processes and finding ways to make ingest, documentation, and quality control workflows more efficient and comprehensive in cultural heritage institutions.

Jim Hubbard
Jim Hubbard has been making films since 1974.  Among his many films are Nostalgia, United in Anger, Elegy in the Streets, Two Marches, The Dance and Memento Mori, which won the Ursula for Best Short Film at the Hamburg Lesbian & Gay Film Festival.  He co-founded MIX – the New York Lesbian and Gay Experimental Film/Video and the ACT UP Oral History Project.  Under the auspices of the Estate Project for Artists with AIDS, he created The AIDS Activist Video Collection at the New York Public Library.  He has curated film series for the Guggenheim Museum, the New York Public Library and the Museum of Modern Art.

Jill Trepanier
JILL TREPANIER earned her B.A. in Geography from the University of Wisconsin-Oshkosh (2007), a M.S. in Geography from Florida State University (2009), and a Ph.D. in Geography from Florida State University (2012). She is currently the Department Chair and a Professor in the Geography and Anthropology Department at Louisiana State University. Research interests include understanding extreme weather events (with a focus on tropical cyclones in the North Atlantic Ocean and Gulf of Mexico), tropical climatology, climate change, geographic information systems, risk assessment, and statistical methods. Ongoing research investigates climate change influences to galleries, libraries, archives, and museums; climate change impacts to local farm shareholders; climate change impacts to Native American cultural resources in the Gulf of Mexico; and K-12 education on climate science and extreme weather through a growing weather station network.

Jimi Jones
 Jimi Jones is the archivist at the University of Illinois at Urbana-Champaign in the United States. He is also adjunct instructor at the School of Information Sciences at Illinois. For the past decade Jimi has been studying standards for moving image digitization—the social aspects of their design, the technical choices that drive their development. He is currently researching TV horror hosts and their place in American television broadcast history.

John Tariot
John Tariot is a nearly 30-year member of AMIA, most recently having chaired one of our first sessions on generative AI back in 2018, entitled “Everything in Your Archive is Now Fake.” Six years later, and with the help of our panelists, he asks the membership to consider anew their role in shaping the ethics of all which awaits our field.

In 1995, he founded the industry-leading stock, archival and news footage network FOOTAGE.net, where he led efforts to create hundreds of thousands of digital images for NBC News, National Geographic, CNN, and many others. John’s career also includes work as a broadcast television editor and producer, serving on the Advisory Committee for Peter Gabriel’s human rights archive WITNESS, and on the Advisory Board for the broadcast-industry bible POST Magazine. He is a lifetime member of the Association of Moving Image Archivists (AMIA), the American Film Institute (AFI), and his expertise in color correction and image restoration has earned him full membership in Colorist Society International (C.S.I.).

Jon W. Dunn
Jon W. Dunn is Assistant Dean for Library Technologies in the Indiana University Bloomington Libraries, where he oversees IT and digital services development and operations, including software development, discovery platforms, digital preservation, and digital collections services. He has been involved in the development of digital library systems for audio and video for over thirty years and currently serves as project director for Avalon Media System, an open source digital repository software system for audio and video access. He served on the cabinet for Indiana University’s Media Digitization and Preservation Initiative and also co-chairs the International Image Interoperability Framework (IIIF) Consortium’s Audio/Video Community Group.

Josh Thorud
Josh Thorud is a Multimedia Teaching and Learning Librarian at the University of Virginia Library. In this role, he designs and teaches audio/video and digital art instructional sessions, including software, equipment, media literacy, and digital storytelling, as well as consults with instructors about course design for media. His background is in film production and digital art, and he was previously a professor at Virginia Commonwealth University and Coe College. As a video editor, screenwriter, and artist, his work has been showcased internationally, spanning the US, UK, Mexico, Germany, Italy, Columbia, Russia, and Serbia at competitions such as BFI London Film Festival, Austin Film Festival, Slamdance, and many more. He received his MFA from Virginia Commonwealth University.

Justin Lemons
Justin Lemons earned a BFA in Drawing and Painting and an MIS in Library Science, both from the University of North Texas. As a Library Science student, Justin studied special materials preservation and spent time at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, VA as a Junior Fellow in the Recorded Sound Division. He is currently the Preservation and Acquisitions Librarian for the University of North Texas Special Collections department and owns and operates a mostly analog recording studio out of his home in Denton, TX.

Justin Martin
Justin Martin (he/him) is recent graduate from UCLA earning a Masters in Library and Information Science with a specialization in Informatics. He earned a B.A. in Asian American Studies & Education Studies from UCLA. He is passionate about the accessibility of archives, digital asset management, and researching optimal digital preservation strategies to ensure the perpetuity of intangible knowledge. He has previously worked as an archival assistant on the Peabody award winning PBS series Asian Americans. Shortly after he became a freelance digitization specialist consulting clients from independent filmmakers to a brand agency who stewards the legacy of major artists and musicians. His academic and professional experience has allowed him to explore alternative archives through ethnography from studying communities in independent wrestling circuits and the professional fighting game scene.

Kaitlyn Palone
Kaitlyn Palone is a Metadata & Cataloging Librarian from the University of Central Oklahoma. As well as her duties as a cataloger she also is in charge of mending the library’s collections, and coordinates the campus zine library. She is a member of the Zine Thesaurus Management Collective for the Anchor Archive Zine Library, and has been involved with CAW since 2023 when she participated in the ToT program’s second cohort.

Karen Cariani
Karen Cariani, is the David O. Ives Executive Director of the GBH Archives and GBH Project Director for the American Archive of Public Broadcasting, a collaboration with the Library of Congress to preserve and provide a centralized on-line access to content created by public media. Karen has 40+ years of television production, project and archival management experience and was project director for many projects focused on providing access to digital audiovisual collections online and long-term digital preservation. Among many activities, she has served on the AMIA board, Digital Commonwealth board, and the National Stewardship Digital Alliance (NDSA) Coordinating Committee and chaired the Levels of Preservation revision WG. Karen is committed to push new technology to its limits to allow historical cultural materials more available for public use. She is active in the archive community and professional organizations and passionate about the use of media archives and digital library collections for education.

Kate Dollenmayer
Kate Dollenmayer lives and works on Lisjan (Ohlone) land in Richmond, California. Currently a film archivist at Prelinger Archives, Kate previously worked at the Academy Film Archive and the Wende Museum of the Cold War. Kate is also a filmmaker and a volunteer at Home Movie Days and Community Archiving Workshops.

Kelli Shay Hix
Kelli Shay Hix is the Director of the projects, Hands On Training in Analog Video Playback Equipment and Mapping the Magnetic Media Landscape at BAVC Media. She is also a core member of the Community Archiving Workshop collective (CAW), and a Fulbright Specialist working with community archives in Serbia. Her past clients include the Smithsonian Institution, the National Geographic Society, and the Country Music Hall of Fame and Museum.

Kevin Rice
Kevin Rice is a cinema engineer and filmmaker based in Milwaukee, Wisconsin. In 2012, he co-founded the non-profit organization Process Reversal, an org dedicated to film preservation through the practice of making and exhibiting films on film. Through its touring series of screenings and workshops, he became heavily involved with the artist-run film lab scene. Since 2019, he has been the technical director of Milwaukee Film and its associated film festivals and historic cinemas. He currently works to design and integrate cinema systems through his company Star & Shutter.

Krista Hollis
Krista M. Hollis is the Assistant Archivist at The Menil Collection. The Menil has an extensive Film and Media Collection with records dating back to 1874. Krista holds a B.A. in Art History from Texas State University (2018), an MLIS with a Certificate in Archival Studies from Louisiana State University (2023), and is a LEED Green Associate. Krista chairs the SSA Ad Hoc Committee on Sustainability, sits on the Board of Archivists of the Houston Area, and volunteers at Orange Show Center for Visionary Art as their Special Collections Manager. Research interests include sustainability, reparative practices, and modern/contemporary art.

Kristin Lipska
Kristin Lipska is an archivist specializing in audiovisual media and digitization workflows. She is currently Digital Asset Manager at the Prelinger Archives working on a three-year film digitization project. Previously she was Digital and Media Archivist at the San Francisco Symphony and Project Coordinator at California Revealed. She earned a Masters of Library and Information Science from San Jose State University and developed skills in video digitization and QC as an intern in the preservation department of the Bay Area Video Coalition. Kristin has contributed to several Home Movie Day events in the San Francisco Bay Area since 2012 as both a film inspector and as a projectionist.

Kirsten Larvick
Kirsten Larvick is the
Director of Special Projects at IndieCollect, where she helps filmmakers develop strategies for preserving their work through the Legacy Services initiative. Since 2009, she has co-chaired the Women’s Film Preservation Fund (WFPF), which is dedicated to protecting the contributions of women in cinema. Kirsten founded the Al Larvick Fund, in honor of her grandfather, to preserve and digitize home movies, amateur films, and community recordings. The Fund emphasizes participatory history, focusing on cataloging, contextualizing, and sharing personal archives. Kirsten also produces documentary restorations, and programs screenings and digitization events at cinemas, museums, and libraries.

Kristen Muenz
Kristen (they/she) is the inaugural archivist at the Wexner Center for the Arts within the Ohio State University. Their professional interests include, as you might expect, the archiving of audiovisual materials, but also the development of sustainable solo archivist practices, preservation of community archives, and promotion of personal archiving.

Kyeongmin Rim
Kyeongmin Rim is a PhD student working on computational semantics.  After working at an industry-leading NLP company in Korea, he returned to academia pursuing Computational Linguistics at Brandeis University. As a doctoral research assistant, he’s been working on various projects, building multi-modal and multi-media semantic models for artificial intelligence systems. He is lead software developer of the CLAMS platform.

Lance Watsky
Lance Watsky is a seasoned Motion Picture Archivist with nearly thirty years of experience in preserving, digitizing, and licensing film collections for museums, libraries, archives, and companies.     He holds a Bachelor of Arts in Fine Arts from the University of South Florida and a Master of Arts in Preservation and Restoration of Motion Pictures and Recorded Sound from California State University, Chico. He has been a member of the Association of Moving Image Archivists since 1997.  Currently the lead archive sales representative at Filmic Technologies, Lance helps libraries and archives develop preservation, digitization  and storage strategies. He lives in Decatur, Georgia.

Larry Blake
Larry Blake is a supervising sound editor/re-recording mixer of feature films. He has mixed more than 65 narrative features since 1989, and was also the supervising sound editor on 55 of them. Included in this number are 33 features and four television seasons with Steven Soderbergh, plus multiple films from Victor Nunez, David Gordon Green, and the Duplass Brothers. In addition, he has mixed 19 feature documentaries.    In 2013 won both Emmy and Cinema Audio Society awards for Best Sound for a Miniseries or a Movie for his work on Behind the Candelabra.      He has written extensively on film sound since 1981 and will be publishing separate anthologies of his columns and features, in addition to the autobiography of film sound great Murray Spivack. First up is a book he’s writing on the digital archiving of motion pictures, Solving the Digital Dilemma.

Laura Drake Davis
Laura Drake Davis (she/her) is a Digital Project Specialist in the Moving Image Section at the Library of Congress National Audio-Visual Conservation Center in Culpeper, VA. In this role, Laura processes born-digital moving image content received from Copyright deposits and gift collections, develops new processing workflows and develops strategies for metadata capture and transformation. Laura is active in the Audio-Visual Working Group for the Federal Agencies Digital Guidelines Initiative (FADGI), and serves on the Moving Image Works Recommended Formats Statement technical team as well as the Software and Video Games technical team. Laura holds a BA degree in Music from the University of California, Santa Barbara, and an MLS degree from the University of Maryland College Park.

Laura Horak
Laura Horak is Professor of Film Studies at Carleton University and director of the Transgender Media Lab and Transgender Media Portal. She investigates the history of transgender and queer film and media in the United States, Canada, and Sweden. She is co-curator of the 99-film Bluray set Cinema’s First Nasty Women (Kino Lorber, 2022), author of Girls Will Be Boys: Cross-Dressing Women, Lesbians, and American Cinema (Rutgers 2016), and co-editor of Silent Cinema and the Politics of Space (Indiana 2014), Unwatchable (Rutgers 2019), Somatechnics 8.1 (2018) on trans/cinematic/bodies, a 2022 “In Focus” section of Journal of Cinema and Media Studies on transing cinema and media studies, and a 2024 issue of Reviews in Digital Humanities on trans and queer digital humanities.

Leah E. Simon
A student member of AMIA, Leah has presented her work at the Society for Cinema and Media Studies (SCMS) and is deeply passionate about questions of public memory and the preservation of at-risk history.

Lee Shoulders
Lee Shoulders is the Director of Content Partnerships at Getty Images, where she oversees relationships with prominent content partners including NBC News Archives, Sony Pictures, Universal Studios, and Bloomberg. Lee began her career in 1992 with Archive Films, a company that was subsequently acquired by Getty Images. Initially responsible for managing the archival film library, she later transitioned to collaborating with larger content partners to optimize their success in delivering licensable content to Getty Images. An active member of the professional community, Lee has served multiple terms on the Board of AMIA.

Libby Savage Hopfauf
Libby Savage Hopfauf (she/her)    Libby Savage Hopfauf has been the Program Manager/Audiovisual Archivist at Moving Image Preservation of Puget Sound (MIPoPS) and the Audiovisual Archivist at the Seattle Municipal Archives since 2015. She received a Master’s in Library and Information Science from the University of Washington and a Bachelor of the Arts in Creative Writing with a minor in Sociology from Western Washington University. She is passionate about creating resources that provide intuitive use of open-source tools, making the digitizing process accessible to archivists (with a wide variety of skill-levels) to ensure the sustainability of institutions to preserve their videotape and conquer the magnetic media crisis.

Linda Tadic
Linda Tadic is Founder/CEO of Digital Bedrock, a managed digital preservation service. Her over 35 years’ experience includes positions at HBO, the Media Archives and Peabody Awards Collection at the University of Georgia, ARTstor, and Pacific Film Archive. She has also taught as an Adjunct Professor at two major graduate programs focused on audiovisual archiving and preservation: UCLA’s Department of Information Studies, teaching a course on Digital Asset Management; and at NYU’s Moving Image Archiving and Preservation program, teaching a course on Collection Management. She is a founding member and former president of AMIA. Linda consults and lectures on digital asset management, audiovisual and digital preservation, metadata, and the impact of digital preservation on the environment. Linda was the recipient of the 2021 SMPTE James A. Lindner Archival Technology Medal in recognition of her leadership, research, and work in digital asset management, audiovisual and digital preservation, copyright, metadata, and the environmental impact of digital preservation.

Lindsay Erin Miller
Lindsay Erin Miller (they/she) is a media archivist, writer, and pop culture enthusiast. Originally from North Carolina, they currently work as the digital asset manager for Vinegar Syndrome. Lindsay holds a B.A. in Mass Communications from UNC Asheville and a M.A. in Moving Image Archiving and Preservation from NYU.  In their spare time, they enjoy collecting zines, hanging out with their cat, and reminding others that pornography is not a substitute for sex education.

Lindy Leong
Lindy Leong (she/her) is a film and media educator, film programmer, arts administrator, and audiovisual archivist. She currently works as an arts administrator at the ArtCenter College of Design in Pasadena, CA.  She was the Senior Film Programmer/Programming Manager at the Los Angeles Asian Pacific Film Festival, presented by Visual Communications, the first non-profit organization in the nation dedicated to the honest and accurate portrayal of the Asian Pacific American peoples, communities, and heritage through the media arts.  She chairs the annual conference for the Association of Moving Image Archivists, a nonprofit international association dedicated to the preservation and use of moving image media. She is a graduate of the UCLA School of Theater, Film, and Television.

Liza Palmer
Liza Palmer, librarian, is managing editor for the Association of Moving Image Archivists’ The Moving Image; co-editor-in-chief of the magazine Film Matters; and contributing editor for Film International. She is an academic publishing specialist in Film Studies at the University of North Carolina Wilmington and is particularly proud of her 2022-2023 Kathleen Berkeley Inconvenient Woman Award from UNCW’s Gender Studies and Research Center.

Lori Felker
Lori Felker is a filmmaker, teacher, programmer, and performer. Her films study the ineloquent, frustrating, and chaotic qualities of human interaction and have explored empathy, discontinuity, grief, and multiple dimensions. She eschews any particular style or genre in favor of letting content and concerns guide form. She loves every facet of filmmaking and has worked as a cinematographer, editor, and/or actor for various artists and directors and has programmed for the likes of the Chicago Underground Film Festival and Slamdance and was a projectionist at the Gene Siskel Film Center. Her award-winning short films and one feature documentary have screen internationally, and she is the recipient of various grants/fellowships including a Fulbright (Berlin) and a Wexner Center Residency. She lives in Chicago and is an Assistant Professor at DePaul University.

Lucy Talbot Allen
Lucy Talbot Allen is a current second-year student in the NYU Moving Image Archiving and Preservation program. Lucy worked as an archive intern at Vinegar Syndrome in Summer 2024, working extensively with the Dr. Ted collection, which will form the basis of their M.A. thesis. Lucy has also written for publications such as Screen Slate and Little White Lies, and has programmed screenings at Whammy! Analog Media in Los Angeles and the Film-makers’ Cooperative in New York.

Maggie Hennefeld
Maggie Hennefeld is Professor of Cultural Studies & Comparative Literature at the University of Minnesota, Twin Cities. She is the author of Death by Laughter: Female Hysteria and Early Cinema (Columbia UP, 2024) and co-curator of the 4-disc DVD/Blu-ray set Cinema’s First Nasty Women (Kino Lorber, 2022).

Marcus Nappier
Marcus Nappier is a Digital Projects Coordinator in the Digital Collections Management and Services Division at the Library or Congress. Along with other colleagues, Marcus primarily works with planning and executing projects to process rights restricted digital content for user access in the Library’s onsite-only access system, Stacks. He holds a BA in History from the University of Virginia and MA in Museum Studies from Johns Hopkins University.

Mario A. Monello
With over 25 years of experience in the Media and Entertainment industry, Mario plays a pivotal role implementing and overseeing technology solutions at Amazon Web Services (AWS). He specializes in delivering cloud-based platforms and solutions tailored to meet the needs of a diverse and evolving customer base. He leads a multitude of archive migration programs involving format conversions, digitization, Media Asset Management (MAM), and Generative Artificial Intelligence (GenAI) technology initiatives. Prior to joining AWS, he garnered a reputation for pioneering innovation and was responsible for leading enterprise-wide media and technology transformations across NBC Universal and HBO. Known for his unique balance of technical acumen and award-winning editing, graphics, and composting skills, he is able to fuse business requirements with the technology needs of production and creative teams across many verticals.

Marisa Hicks-Alcaraz
Dr. Marisa Hicks-Alcaraz (she/they) is a Lecturer in Gender and Women’s Studies at the University of Illinois, Urbana-Champaign and co-founder of the Memory Lab at the Urbana Makerspace. Her research centers on U.S. Latina moving image production, anticolonial feminist theory, community archiving, and home movie digital preservation. Their writing has been published in journals including the International Journal of Information, Diversity & Inclusion, the Journal of Feminist Media Histories, and Interdisciplinary Digital Engagement in Arts & Humanities.

Mark Gray
Mr. Gray is recognized as a serial entrepreneur in Media and Entertainment technology. Throughout his career, he has founded companies and developed innovative products and technologies for the Broadcast, Professional Television, and Digital Media markets. Before his founding of GrayMeta, Mr. Gray held C-level positions at Pinnacle, AVID, Chyron, Sony, and other leading companies. His pioneering work is utilized by every television station and production facility around the globe.  The development of the SAMMA migration process earned a prestigious technical Emmy. Mr. Gray holds a Bachelor of Science degree in Electrical Engineering from the University of Tennessee, a Master of Arts degree in Communication from St. Louis University, and is a graduate of the School of Executive Development at Babson College’s graduate school of business.  Additionally, Mr. Gray has served on the boards of several companies, including EGT, Telco Television Corporation, and Giant Studios. He was recently honored as a Fellow of the Society of Motion Picture and Television Engineers (SMPTE).

Mark Smirnoff
Mark Smirnoff is President fof Prasad – North America, responsible for sales and operations. Smirnoff has served in executive positions at Modern VideoFilm, Deluxe Entertainment Services and Technicolor. He will work out of the Burbank office and brings vast experience in film, television, streaming services, digital media, VFX, AR and VR.

Mary Huelsbeck
Mary Huelsbeck has been the Assistant Director of the Wisconsin Center for Film and Theater Research at the University of Wisconsin-Madison since March 2012. She has over twenty-five years of experience managing film, videotape, audio, photograph, manuscript and three dimensional object collections in museums, libraries, and archives. She is a long-time member of the Association of Moving Image Archivists.

Matt St. John
Matt St. John is a manuscript archivist at the Wisconsin Center for Film and Theater Research, where he leads processing and digitization for the “Expanding Film Culture’s Field of Vision” project. He holds a PhD in film from the University of Wisconsin-Madison.

Matthew Wilcox
Matthew Wilcox is the Audiovisual Archivist at the Michigan State University Libraries. Matthew has been an advocate for the WKAR and WMSB educational kinescopes and films, and he is also responsible for the management of the MSU Library’s Media Preservation Lab. With the aid of a recently acquired government grant, the lab has been expanded and the kinescopes and films are currently being preserved and digitized in-house.

Megan Needels
Megan Needels is an archivist based in San Francisco, California. They are a graduate of the media archival studies MLIS program at UCLA and have worked at a number of San Francisco Bay Area archives including Canyon Cinema, San Francisco Cinematheque, Oddball Films, and the GLBT Historical Society.

Melissa Dollman
Melissa Dollman earned her Ph.D. from the University of North Carolina at Chapel Hill (UNC) in American Studies in 2021 and has a Master’s in Moving Image Archive Studies from the University of California, Los Angeles. She has worked professionally as an audiovisual archivist, adjunct faculty, fellow, exhibit developer, and researcher for cultural heritage institutions including Women In Film Foundation, UCLA Film and Television Archive, Academy Film Archive, Schlesinger Library at Harvard University, State Archives of North Carolina, North Carolina State University, UNC and its Southern Oral History Program, Tribesourcing Southwest Film, and is co-founder and CFO of Deserted Films, a home movie archive in Palm Springs, CA. Between 2016 and 2020 she was a director of the board for the Association of Moving Image Archivists (AMIA). Her publications cover home movies, digital humanities, public access TV, and the intersection of women’s and PR history.

Melissa Shew
Dr. Melissa Shew (PhD, Philosophy) is Associate Director of Teaching Excellence in the Center for Teaching and Learning where she helps develop collaborative strategies to generative AI, Ignatian pedagogy, and all issues related to teaching and learning at Marquette University. Right now, she is also working on six collaborative grants about AI and the humanities with a cross-section of experts in Milwaukee. She is also the Faculty Director of Marquette’s Executive MBA Program in which she also teaches business ethics, corporate social responsibility, and classes on women’s leadership and intellectual joy. Her research is both public-facing and scholarly, including a TEDx talk and a book called Philosophy for Girls (OUP 2020).

Michael Marlatt
Michael Marlatt (he/him) is a disabled film archivist, archival accessibility consultant, and archival producer based in New Brunswick, Canada. Michael received his PhD at York University in the Communication & Culture program where he examined accessibility gaps in moving image archival education. Michael hosts archival accessibility workshops with various types of archives including broadcasting, government, and archival professional organizations.

Michelle Witt
Michelle Witt earned her Master of Library Science from UNC-Chapel Hill in spring 2023. Since then, she has worked as a contract archivist for Winthrop Group, AM Digital, and Core Sound Waterfowl Museum & Heritage Center on Harkers Island, NC. She serves as division research historian for North Carolina State Historic Sites. In her spare time, she does freelance research, shotlisting, and family archiving.

Mike Pogorzelski
Michael Pogorzelski’s tenure in the Academy Film Archive included roles as a Film Archivist (1996-1998), Preservation Officer (1998-2000) and Academy Film Archive Director (2000-2024). He supervised and co-supervised over 50 film preservation and restoration projects including Best Picture winners HOW GREEN WAS MY VALLEY (1941), THE BEST YEARS OF OUR LIVES (1946),  ALL THE KING’S MEN (1949), ALL ABOUT EVE (1950) and OLIVER! (1968) as well as Akira Kurosawa’s RASHOMON (1950), Edgar Ulmer’s DETOUR (1946), Peter Davis’ HEARTS AND MINDS (1974) and Michael Powell and Emeric Pressberger’s THE LIFE AND DEATH OF COLONEL BLIMP (1943). His final project at the Academy Film Archive was a restoration of the original theatrical cut of Best Picture winner AMADEUS (1984).

Miranda Villesvik
Miranda Villesvik is a Digital Ingest Manager at GBH, where she’s been since 2017. Her main work has involved ingesting collections into the American Archive of Public Broadcasting, a collaboration between GBH and Library of Congress. A Seattle native, Miranda loves to cook, do jigsaw puzzles, run, and try to learn German.

Mitch Peyser
After many years mining archives to create and promote classic music and video collections for Time Life, Mitch is now curating, creating, launching and managing YouTube channels including The Smothers Brothers, Bob Hope, and Tennessee Ernie Ford. The Smothers Brothers Channel has grown from launch in 2023 to 190,000 subscribers along with several viral clips with hundreds of millions of views. For Time Life, Mitch generated hundreds of millions of $$s through all channels of direct to consumer marketing including web, email, and direct response television. He has fostered long-term successful business relationships with major brands including Disney, The Rock and Roll Hall of Fame and Museum, The Grand Ole Opry, The Academy of Country Music and The Country Music Association.

Nilson Carroll
Nilson Carroll is the Assistant Curator and Preservation Specialist at Visual Studies Workshop in Rochester, New York. At VSW, Nilson manages the Media Transfer Lab and specializes in the preservation of videotapes. Nilson has worked to preserve and make accessible large portions of the VSW Video Collection, including tapes from the Portable Channel (1970s) and TV Dinner (1980s-90s) collections, both of which cover prescient topics including racial justice, universal healthcare, reproductive rights, the AIDS epidemic, and others.    Nilson is also an artist, game designer, curator, and educator working at the intersection of experimental film/video, video games, and queer theory/embodiment. Nilson is committed to accessibility of information and art making, and believes in working toward a future of shared resources, community participation, and lowered barriers to education. Nilson is the co-founder of the DIY mutual aid project the Queer Games Bundle, which directly supports hundreds of LGBTQIA2S+ artists from around the world annually.

Nina Rao
Nina Rao is the Head of Media Preservation for Emory University Libraries.  She leads a team that provides  digitization, preservation, and metadata services for Emory Library and Museum materials including audiovisual items, still images, manuscripts, flat art, and three dimensional objects.  She holds a BA in Communications and Media Studies from Tufts University, an MFA in Creative Writing from the University of Arizona, and an MA in Moving Image Archive Studies from UCLA.

Olivia Babler
Olivia Babler manages film digitization operations at Chicago Film Archives, a non-profit dedicated to preserving films from the Midwestern U.S. She is active in all stages of collections processing at CFA, including inspection, digitization, curation, and cataloging. Prior to joining CFA in 2017, she earned her M.A. in Film + Photography Preservation and Collections Management from Toronto Metropolitan University. She caught the film preservation bug as an intern at the Wisconsin Center for Film and Theater Research while an undergrad at the University of Wisconsin.

Oscar Becher
Oscar Becher is the Director of The Vinegar Syndrome Film Archive and the Vault Manager/Archivist at Vinegar Syndrome, a film restoration and distribution company focused on the preservation of historically overlooked areas of cinema, with a particular emphasis on genre films. He has supervised the buildout and expansion of VS’ in-house climate-controlled film archive while personally processing all incoming film elements. Since starting at VS in 2021, he has inventoried and re-housed over 30,000 reels of film and has overseen projects related to the locating and recovery of endangered elements, repair and prep for scanning, and has produced instructional and educational videos on film handling and element identification. He graduated in 2020 from the Selznick School of Film Preservation and in 2023 from NYU’s Moving Image and Preservation Program.

Owen Gottlieb
Owen Gottlieb Associate Professor of Interactive Games and Media at the Rochester Institute of Technology and the Founder and Director of the Interactive, Media, and Learning Lab at RIT. His research traverses interactive media for learning, narrative design, instructional media history, and interactive media for healing and wellness. His learning games have been featured at the Smithsonian American Art Museum, IndieCade, Meaningful Play, and Now Play This London. He is currently working on a monograph on the history of ITV in the US and Canada in the 70s and 80s, and its implications for interactive media in the classroom today.

Owen King
Owen King is Metadata Operations Specialist at GBH Archives, working primarily on the American Archive of Public Broadcasting.  He coordinates computational projects supporting metadata creation for digital audiovisual materials.  His background is in computer science and philosophy, with a PhD from The Ohio State University.  He has published articles on archival metadata, information ethics, and well-being.

Patricia Ledesma Villon
Patricia Ledesma Villon is the Bentson Archivist and Assistant Curator of the Moving Image department of the Walker Art Center in Minneapolis, Minnesota, where she oversees the preservation of the Ruben/Bentson Moving Image Collection. She has processed audiovisual collections and worked on archival initiatives for the Prelinger Archives, the Center for Asian American Media’s “Memories to Light” home movie project, filmmaker and scholar Trinh T. Minh-ha, and the Philippine Film Archive. Her archival practices focus on the intersections of collections and public curation, photochemical filmmaking and preservation, theories of audiovisual archiving, digital preservation, and artist-made cinema and exhibition. Patricia holds an MLIS with a specialization in Media Archival Studies from UCLA. She is also a member and co-organizer of Light Field, an annual exhibition of recent and historical moving image art on film in the San Francisco Bay Area, and serves on the Board of Directors of Canyon Cinema Foundation.

Paula Roque-Rivera
Paula Roque-Rivera is a digital archivist from Puerto Rico with an M.A. in Arts and Cultural Management and a B.A. in Hispanic Literature, both from the University of Puerto Rico. Her work is focused on the preservation and dissemination of Puerto Rican performing arts heritage, with a specific emphasis on dance particularly, through the curation and management of moving image archives. Her interests include community
archives, digital curation, and digital preservation. With a Digital Archivist Specialist Certificate from the Society of American Archivists, she hopes to contribute to the safeguarding of Caribbean cultural memory and to make archival materials accessible to wider audiences.

Peter Kaufman
Peter B. Kaufman is Senior Development Officer at MIT Open Learning. Educated at Cornell and Columbia, he is the author of The New Enlightenment and the Fight to Free Knowledge (Seven Stories Press, 2021) and The Moving Image: A User’s Manual (The MIT Press, 2025).  An educator, publisher, and documentary film producer, he has served as Associate Director of Columbia University’s Center for Teaching and Learning; co-chair of the JISC Film & Sound Think Tank; co-chair of the Copyright Committee of the Association of Moving Image Archivists; a member of the Scholar Advisory Committee of WGBH’s American Archive of Public Broadcasting; a member of the American Council of Learned Societies Commission on Cyberinfrastructure in the Humanities and Social Sciences; and a long-time consultant to the Library of Congress’s Packard Campus for Audiovisual Conservation.

Prue Castles
Prue Castles is the Conservation Manager at the National Film and Sound Archive of Australia (NFSA). Graduating with a Masters in Conservation of Cultural Materials from the University of Canberra and working in the museum sector she now oversees the conservation activities at the NFSA ranging from film to artefacts. NFSA received funding to expand and refit the nitrate film storage facility, Prue is a team member on this project.

Rachel Antell
Rachel Antell is an archival producer who has works on contemporary and historic documentaries that have aired on streaming platforms, cable, public and network television, screened at festivals worldwide, and garnered FOCAL Awards as well as an Emmy nomination for research and use of archival footage. In 2023, Rachel co-founded the Archival Producers Alliance (APA) created to organize and advocate for archival producers, and educate the larger film community about the craft. The APA’s first initiative addresses the introduction of Generative AI into the field of documentary film and archival work.

Rachael Stoeltje
Rachael Stoeltje established the Indiana University Libraries Moving Image Archive in 2010 and has served as its director since the founding. Currently the AMIA president, she has served on the International Federation of Film Archives Executive Committee and as the chair of the Coordinating Council of Audiovisual Archives Associations. For two decades, she Stoeltje has worked on preserving, archiving and providing access to vast and varied film, photography and personal collections. She also writes about film; has co-created a global training and outreach program; and has planned and managed IU’s mass
film digitization project.

Rai Terry
Rai Mckinley Terry (they/them) is an audiovisual artist and archivist. Rai began working with SSHMP in the Summer of 2021 as an Association of Moving Image Archivists Pathways fellow. Rai is interested in the power and preservation of home movies, especially those recorded on videotape. They have an B.A. in African and African American Arts from Brandeis University and an M.A. in Public Humanities from Brown University.

Randal Luckow
Randal Luckow is the director, Global Archives & Preservation Services at Warner Bros. Discovery. Past positions include Director of HBO Archives, Sr. Director of Metadata & Media Services at Turner, and a manager at DreamWorks, SKG Archives. Randal currently serves on the AMIA Board.

Rhana Tabrizi
Rhana Tabrizi works as a Specialist in the Core Collection at the Margaret Herrick Library in Beverly Hills. She was an AMIA Pathways Fellow in 2023 and served as the UCLA student chapter’s Treasurer during the 2023-24 academic year. rhana is a recent alum from UCLA’s School of Education and Information Studies and previously earned an MA in Aesthetics and Politics from the California Institute of the Arts.

Robert Byrne
Robert Byrne is film preservationist and restorer specializing in early cinema and films of the silent era. Working with film archives and collections worldwide he has led restorations and resurrections of more than forty feature films and numerous short subjects. He has lectured at the Library of Congress, University College Cork, Queen’s University Belfast, The Reel Thing Symposium, and numerous AMIA and FIAF technical symposiums. He is co-author of FIAF Image Restoration, Manipulation, Treatment, and Ethics and publishes regularly on the topics of motion picture restoration and preservation. His work appears in the volume Films that Sell: Moving Pictures and Advertising, and he is co-author of Discovering Lost Films of Georges Méliès in fin-de-siècle Flip Books (1896–1901) and Tales from the Vaults: Film Technology over the Years and across Continents. Rob holds a MA in Presentation and Preservation of the Moving Image from University of Amsterdam. He has served on the boards of the Global Film Initiative, Friends of the Oakland Fox Theatre, and the Castro Theatre Conservancy, and for more than twenty years has served on the board of the San Francisco Silent Film Festival. He has recently founded the San Francisco Film Preserve, a nonprofit organization focused on restoring, preserving, and providing access to cinematic treasures across all generations.

Ross Lipman
Ross Lipman is a freelance archivist, filmmaker and essayist.  Formerly Senior Film Restorationist at the UCLA Film & Television Archive, his many restorations include works by Barbara Loden, Charles Burnett, John Cassavetes, Orson Welles, Shirley Clarke, Kenneth Anger, Julie Dash, Rob Epstein, Nietzchka Keene, Bruce Conner, Lourdes Portillo, Eleanor Antin and Robert Altman.  His 2015/16 documentary Notfilm, on Samuel Beckett’s FILM starring Buster Keaton, was named one of the 10 best films of the year by Artforum, Slate, and many others.   Lipman was a 2008 recipient of Anthology Film Archives’ Preservation Honors, and is a three-time winner of the National Society of Film Critics’ Heritage Award. His writings on film history, technology, and aesthetics have been published in Artforum, Sight and Sound, and numerous academic books and journals. His most recent restoration projects include Robina Rose’s Nightshift (with Lightbox Film Center), Marva Nabili’s The Sealed Soil (with UCLA Film & Television Archive), David Schickele’s Bushman, (with Pacific Film Archive), Nancy Savoca’s Household Saints (with Milestone and UCLA), and Richard Beymer’s The Innerview (with Lightbox). His recent film The Case of the Vanishing Gods premiered at the Locarno Film Festival in fall 2021 and was named to Jonathan Rosenbaum’s list of ten best films of 2022.   Further information is available at www.corpusfluxus.org

Russell Zych
Russell Zych currently serves as a Media Preservation Technician at the Los Angeles County Museum of Art. Russell is also a Research Assistant for the Cinema’s First Nasty Women project and a volunteer admin for TAPE Los Angeles, a nonprofit that provides low-cost video digitization services, workshops, and other resources related to analog a/v media.  Russell’s personal and professional interests include small gauge/amateur film, silent/early cinema, community archives, histories of technology and obsolescence, critical information studies, data studies, platform studies, digital preservation, and video games.

Ruta Abolins
Ruta Abolins is Director of the Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia Libraries. She has worked in moving image archives for the past 30 years. She currently manages a collection of over 350,000 analog audiovisual items and over 200,000 digital files with collections ranging from news to home movies to the Peabody Awards Collection. She has written and presented on the importance of local news content and the licensing of archival content for documentary use to help support archives.

Sam Fleishman
Sam Fleishman (they/them) is project manager for the Autistic Voices Oral History Project. Sam is a writer, researcher, and multimedia artist with a focus on disability advocacy and documentary storytelling. After being professionally identified as Autistic at 24, they began a deep educational pursuit of neurodiversity and disability studies. Currently, Sam works in autism research at the MGH Lurie Center for Autism, and teaches accessible theater to youth with disabilities, integrating their lived Autistic experiences and professional expertise. They have significant experience in communications, project management and design, with a specific interest in healthcare advancement and accessibility.

Sandra Joy Aguilar
Sandra oversees metadata and indexing at University of Southern California’s Shoah Foundation – The Institute for Visual History and Education, an online educational resource which showcases over 56,000 video life histories of individuals who survived the Holocaust or other genocides. She works with a global multilingual staff of indexers and archivists who use a custom thesaurus to apply terms to one minute video segments which provide deep scholarly access to the stories of survivors. She holds an MLIS from UCLA and a BA in Film and Media Studies from UCSB.

Sandra Schulberg
Sandra Schulberg is President of IndieCollect and producer of its restorations. Previously she restored her father’s documentary, Nuremberg: Its Lesson for Today, and authored the monograph “Filmmakers for the Production,” which was turned into the eponymous documentary film, now in release through Kino Lorber. With the Academy Film Archive, Library of Congress, Dutch Nationaal Archief, and Germany’s BundesFilmarchiv, she preserved more than 25 Marshall Plan films, curated extensive MP film programs for the Berlin and New York Film Festivals, and authored the monograph, “Selling Democracy: Films of the Marshall Plan, 1948-1953.” A longtime media activist, she founded the IFP, co-founded First Run Features, started the IndieCollect campaign. For three decades she financed & produced indie movies, winning the Sundance Grand Prize for Waiting for the Moon, and Oscar nominations for Quills. For 16 years, she taught Feature Film Financing & International Co-Production at Columbia University’s graduate film school. For her contributions to American independent cinema, she has honored with the Berlinale Camera, Spirit Award and Gotham Award.

Shan Wallace
SHAN Wallace (b. 1991) is a nomadic award-winning interdisciplinary artist, archivist, and image-maker, from Baltimore, MD. Wallace utilizes a range of mediums to weave narratives and imagine new stories. Rooted in image-making techniques such as photography, film, and collage, as well as in situ installations, these mediums serve as the foundation of her artistic practice.    Her work is held in both public and private collections across the U.S., including The Baltimore Museum of Art, The Mint Museum, The Whitney Museum, and Johns Hopkins University, as well as various private collections.    SHAN lives and works in many spaces between Brooklyn, New York and Baltimore, MD.

Sherly Torres
Sherly is a Latinx painter with a background in painting and museum education. She has a BFA degree in painting from Rhode Island College. Raised in Puerto Rico and Rhode Island, she always had a passion for art making. She practiced AV archiving as an AMIA Pathways fellow at the Rhode Island Historical Society in 2022. At the moment, she teaches art to local high school students at a non-profit called New Urban Arts, and mentors and lead gallery tours at the RISD museum. Her career goal is to become an art conservator specializing in painting conservation after earning a master’s in that field.

Simon O’Riordan
Simon O’Riordan is the Program Manager for Metadata Services for Emory University Libraries. He has been with Emory since 2014. He earned his Masters in Library Science from the University of North Carolina, Chapel Hill. He also has an MA in history from Queen’s University (Kingston, Ontario) and completed his undergraduate studies in history and theology at Seattle University. His role at the Emory University Libraries includes providing metadata expertise for digital scholarship, digitization and other metadata-dependent efforts as well as provide consultation on various metadata topics.

Siobhan C. Hagan
Siobhan holds her M.A. in Moving Image  Archiving and Preservation from NYU’s Tisch  School of the Arts and is currently the Coordinator  for the Smithsonian Institution’s Audiovisual  Media Preservation Initiative.

Staci Hogsett
Staci Hogsett is the Head of Collection Services for the UCLA Film & Television Archive. She leads the organization, circulation, and processing of the Archive’s collection of over 500,000 items. Staci received her BA in English and Film Studies from the University of Nebraska and her MA through the UCLA Moving Image Archive Studies program.

Stephanie Jenkins
Stephanie Jenkins has been making historical documentaries for fifteen years, primarily as an archival producer and producer with Ken Burns. She has also contributed research to multiple outlets including The New York Times Op-Docs “ENCORE” series. She is a Co-Founder and Co-Director of the Archival Producers Alliance, and is working to put a framework in place around generative AI use in documentaries.

Stephanie Neel
Stephanie Neel (she/her/hers) is an archivist based in New York City, working primarily with performing arts and photography collections. She has been the archivist at Mark Morris Dance Group in Brooklyn since 2017, and has worked with a number of performing arts companies and artist estates as a project manager and consultant for grant writing, collection processing, digitization, and database advisement. Stephanie is a member of the Archives Funding Coalition for Dance/USA and serves on the Programming Committee for Archivists Round Table of Metropolitan New York.

Syd Perkins
Syd Perkins is a 2017 graduate of the L. Jeffrey Selznick School of Film Preservation certificate program. She has interned and worked at multiple institutions over the past twelve plus years, including the Moving Image Research Collections, Yale Film Archive, and Metropolis Post. She has experience operating numerous film scanners, handling innumerable film formats, and enjoys experimenting with image processing software in new ways. She has collaborated with Ben Model and is currently collaborating with Ben Solovey on digital restoration projects. She is an unemployed trans woman.

Tara Merenda Nelson
Tara Merenda Nelson is the Curator and Director of Public Programs at Visual Studies Workshop in Rochester, NY, where she oversees a collection of over 10,000 16mm film and early video titles. Tara is the lead programmer for the VSW Salon series, and is the Managing Editor for VSW Press.

Tim Knapp
Tim Knapp is the COO of PRO-TEK Vaults, managing the Burbank and Thousand Oaks, CA locations.  Tim brings more than 40 years of experience in motion and still imaging at Kodak, Technicolor and PRO-TEK Vaults — in film and digital imaging engineering and management roles.      Tim’s has an in-depth understanding of the capabilities and challenges of managing film, tape and digital assets, including the issues and opportunities they present for archivists as they face aging media libraries and an increasingly digital future.     He is currently, a member of the Association of Moving Image Archivists, Society of American Archivists, and an elected Associate Member of the American Society of Cinematographers.

Tim Lake
Tim Lake is the Director of Preservation at BAVC Media, managing analog media digitization services, as well as administering the Community Preservation Hub in San Francisco. He works to demystify the technical hurdles of preservation, ensuring long-term access for independent artists and large media organizations alike.    Tim joined BAVC Media in October 2019, following audiovisual preservation internships with Smithsonian (Archives of American Art, Folkways Recordings) and the D.C. Punk Archive. He has a Master’s of Audio Engineering from American University, and spent 10 years performing, promoting, and recording music in the Washington, D.C. community.

Todd Wiener
Todd Wiener, Motion Picture Curator, began his career with the UCLA Film & Television Archive in 2000 and has served in its Motion Picture Department for over twenty-three years. Wiener researches and supervises the acquisition of new motion picture holdings for the Archive, and oversees archival access initiatives as well as programmatic loans to film festivals, institutions and other venues worldwide. Wiener also provides curatorial and administrative support for the Archive’s motion picture donors and depositors, in addition to important archival preservation partners such as The Packard Humanities Institute, The Film Foundation, Film Noir Foundation, and the Sundance Institute, to name a few.

Tom Lorenz
Tom Lorenz studied sound engineering in Berlin from 1987 to 1993. After receiving his degree as   Diplom-Tonmeister he worked as support engineer for an audio restoration system. From 1995 to   2002 he was employed as a project engineer for international sound and radio studio installations.  In 2002 he joined Cube-Tec as a sales engineer. Since 2005 he gained a leading position in CubeTec as Sales Director and Managing Partner. He is working since more than 20 years closely together with   archivists all over the world to provide new technologies for the safeguarding of the audiovisual   heritage and software solutions for the management of digitization workflows.

Walter Forsberg
Walter Forsberg is Curator of Audiovisual Media at Smithsonian Libraries and Archives. His co-edited book on Mexican microcinemas, “Cine-Espacios,” was published by Canyon Cinema in 2023. Walter’s first AMIA was 2008 in Savannah, where he got to meet Rick Prelinger and Sam Kula IRL (!).

Winand (Yizhou Wei)
Yizhou Wei (Winand) holds a BA in Theatre, Film, Television, and Literature from Xiamen University and an MLIS from National Taiwan University. Currently pursuing a PhD at Xiamen University, he specializes in film preservation and restoration and serves as a research assistant at the university’s Film Archive Studies Center. In 2024, he attended the FIAF Congress in Bangkok as an auditor, presented a paper on Divergent Approaches in Film Preservation Education Across the Strait at the 28th SEAPAVAA Conference, and participated in the FIAF Film Restoration Summer School in Bologna. His doctoral advisor, Ray Jiing, formerly served as Director of the Taiwan Film and Audiovisual Institute (1989-1996). His dissertation proposal, titled A Study on a Decentralized Model for Film Preservation, aims to explore how film preservation can generate cultural significance in the Sinophone world, extending beyond technical practice. He envisions film preservation as a tool for social progress and empowerment, especially within contemporary mainland China, where advancing such cultural initiatives is challenging yet vital.

Yasmin Mohaideen
Yasmin Mohaideen (she/her) graduated from Cornell University (2014) with a B.A. in English Literature and is currently obtaining a Master’s degree in Library and Information Science at the University of Maryland College Park. Before going back to school, Yasmin worked in video journalism at Penske Media Group & the American Film Institute and television post-production at Comedy Central, Hulu, Netflix, and Warner Brothers. With her previous work experience and love of film, she is excited to pursue a career in audiovisual preservation with a focus on archives and museums.

Yesenia Perez
Yesenia Perez (she/they) is a Processing Conservator with the UCLA Film & Television Archive. She received her MLIS from UCLA with a specialization in Media Archival Studies. In the past, she has held roles with the June L. Mazer Lesbian Archives, the UCLA Center for Oral History Research, and the Margaret Herrick Library. Eager to merge her interest in archival work and community engagement, she is currently a member of the 2024 Community Archiving Workshop Training of Trainers cohort.

Zach Rutland
My name is Zach Rutland – I am an archivist for the Skid Row History Museum and Archive (LA Poverty Dept.), going on 5 years. My main drive is community-based work as it relates to archival practice, use and sustainability for the neighborhood of Skid Row. For the past 6 years, I have contracted work for archival projects and DAM implementations. I graduated with my MLIS from UCLA in 2020 with a specialization in media studies.